drapery which is less solid than that of the previous age (compare the Olympian
Apollo, fig. 48), also adds depth; in the centre are three layers represented by the
cloak, the Centaur’s flank and the Lapith’s leg.
The three seated figures from the Parthenon frieze (fig. 61) are identified as
Poseidon, and the twins Apollo and Artemis. Again, in the arrangement of the three
seats is the illusion of depth. The three figures are relaxed in a pleasing variety of
poses. Here the clinging drapery is used to suggest the forms of the body underneath.
Like the Muse of the Achilles-painter (fig. 63), the graceful figures are all calm and
passionless in expression, yet they are nevertheless endued with life. Serenity is
conveyed through the attitude and composure of the whole body.
In the figure from the west pediment, identified as Iris (fig. 62), the clinging
drapery not only suggests the form of the bosom, the belly and the thighs, but also in
the direction of its finely carved curves gives the strong impression of movement
appropriate to a figure who was the messenger of the gods. The use of drapery to
250 THE GREEKS
FIGURE 60 Lapith and Centaur, marble metope from the Parthenon (South Metope
XXVII), 447–438 BC, 1816,0610.11
Source:Photo © The Trustees of the British Museum